The History of Antiquity (Vol. 1-6). Duncker Max

to a superior direction and power, which could apply those forces as it chose; in a word, it presupposes an economical, political, and technical civilisation, removed by at least 500 years from pastoral life and patriarchal rule. If therefore we may assume that the great pyramids were erected about the year 2500 B.C., the beginning of higher civilisation in the valley of the Nile must not be placed later than the year 3000 B.C.

      This assumption is confirmed by the fact that the oldest monuments of Egypt—and they are also the oldest in the world—exhibit the Egyptians in possession of the art of writing. All writing proceeds from pictures. The writing of the Egyptians and Babylonians, like that of the Chinese, Mexicans, and the tribes of North America, was in the first instance no more than speaking pictures. The Egyptians engraved on the stone of their rocks pictures of the objects and events of which they wished to preserve the remembrance. As this use of pictures to assist the memory became more common and more regular, from external no less than internal reasons, it quickly acquired certain abbreviations and combinations. The frequent repetition of a picture led to its abbreviation. The picture of a house dwindled into a square; water is not so much sketched as indicated by waved lines; instead of a forest we have the outline of a tree—in Egypt we find the sycamore, the most common tree in the country. Thus from actual imitative pictures we arrive at indicatory pictures. But how could the various kinds of fluid, for instance, be represented in these indicatory pictures? The three waved lines indicating water were retained, but beside them was sketched a wine-jar or water-pot, and thus the desired end was attained. By adding the picture of a god to the square, a temple was distinguished from a house. By such means the objects of the visible world could be reproduced in pictures more or less abbreviated. Even the actions and conditions of men which do not come immediately under the eye could be represented in this abbreviated metaphorical manner. Giving could be represented by an outstretched arm with a loaf; opening, by a door; going, by a road planted with trees; travelling, by a walking bird; battle, by an arm equipped with shield and lance; binding and fastening, by a coiled rope; destruction, by a prostrate man. It was more difficult to represent conditions which do not show themselves to the eye, as, for instance, hunger and thirst. To express thirst the Egyptians chose the symbol of water and a calf running to it; hunger they represented by a hand conveyed to the mouth, and this was also the symbol of eating. But the most difficult task for this picture-writing was the description of objects transcending sense, and abstract ideas. For the gods, it is true, popular notions and the fancy of the priests had supplied fixed forms which only required to be abbreviated for the picture-writing. The picture of the sky-goddess served as a symbol for the sky. The Egyptians regarded the sky as arched over the earth; the feet of the goddess rested on one extremity, and her hands on the other. Instead of the complete figure of the goddess in this arched attitude, they drew a line of a similar kind, and this was the abbreviated picture of the sky. If the sun or a star was combined with this line, the picture represented the day and the night. But the abstract ideas of law and justice, truth, protection, good, evil, life, &c., could only be represented in this picture-writing by sensuous images. In Egypt power was represented by a brandished whip, or poleaxe; justice, by the cubit, or symbol of equal measurement; good, by the symbol of sound, in order perhaps to indicate harmony; evil, by the picture of an unclean fish; truth, by an ostrich feather—the feathers of this bird are said to remain unchanged; protection, by a soaring vulture, &c., &c.

      Though the possession of such indicatory or symbolic pictures enabled men to describe a series of objects and conditions, and even certain classes of conceptions—this picture-writing was nevertheless far removed from the expression of a definite and intelligible speech. It was a great step in the Egyptian writing when to their simple metaphorical and symbolical pictures phonetic pictures were added. From the actual picture by means of abbreviation, by indicatory signs and symbols, they had arrived at picture-signs, and had succeeded in expressing a certain feeling by means of figures; but now the indication of the sound was added to the representation of the sense. The picture-writing could only go to these picture-signs in order to borrow the symbols for sound. Hence the sound A was denoted by a symbol which signified an object of which the name began with A; for this in Egypt the symbol of an eagle (achem), or of a reed (ak), might be, and was selected. Thus in order to express words which could not be made plain by picture-signs and images of sense, the plan was adopted of adding to the picture-signs already in use for such words, one or more phonetic symbols, a complete or incomplete phonetic supplement. Hence arose a class of mixed pictures, made up of the picture of the object, with the addition of the sounds of the words of which the picture was intended to express the meaning. To make the meaning yet more clear, it was found necessary to add key-signs, indicating the class and nature of the word in question. Thus with the pictorial and phonetic signs for day and hour was combined the sign of the sun, and to the names of countries and rivers the sign for land and water. Moreover these key-signs showed whether the word symbolised by a sound or a picture denoted an animal, a plant, a kind of stone, or belonged to a particular class of conditions and actions. Yet in this combination of real and phonetic pictures, it always remained uncertain whether a picture or symbol was to be taken for its real meaning, or was to be regarded as a phonetic symbol.

      This, then, is the difficult writing of the Egyptians; these are the hieroglyphics as presented even on those great monuments. Even here we find this method of writing applied in the same forms, and with the same mixture of pictorial and phonetic signs, which it retained in Egypt, with slight modifications (see below). Without doubt, the development of this complicated system was the work of centuries. In the infancy of history, special insight and capability is obtained and handed down only within the limits of certain circles. There could be no regular application and development of this system of writing before the formation of a priestly order. And again, the separation of such an order from the rest of the people could only take place gradually; it must go through a number of stages to raise it above the primitive conditions of life. When this point of culture was reached, a considerable space of time was still needed in order to bring the picture-writing, even within the priestly class, to the form in which we see it on the pyramids. In those nations whose progress we can follow with greater accuracy, centuries must pass before the indefinite and floating notions entertained of the gods are fixed in rigid forms. Yet in Egypt this change had already taken place before the date of the oldest hieroglyphics: for even in these we find typical forms in use for the gods, with sharply drawn and abbreviated outlines. In the picture-writing itself there is a wide interval between the delineation of an incident, or object, and the representation of a definite feeling; and a yet wider interval before the expression of ideas, of definite speech, is attained. An advanced stage of reflection and abstraction is required in order to step from the picture of an occurrence to picture-signs and images of sense, and again from these to phonetic symbols. The symbols for an incident, and for an idea and a sound, are separated by a wide gulf. Independently of these internal requirements for the advance of picture-writing, the external form in which the oldest hieroglyphics are represented, their even, harmonious, clearly-cut and unalterable forms, are evidence not only of an industrious and careful application of these signs, but also of a tolerably long use. The oldest hieroglyphics of the date of the great pyramids are for the most part embossed; but even the engraved work of a date very little more recent is not surpassed by later times in artistic excellence, in sharpness and neatness of execution.

The study of the calendar of Egypt, no less than the use of writing upon the great monuments, carries us back to an early date for the beginning of Egyptian civilization. We saw that the priests, by adding five days to the old year of 360 days, had come tolerably near to the natural year, and had fixed the beginning of their year by the rising of Sirius. Monuments of the age of the Amenemha and Sesurtesen show that even then the rising of Sirius had been observed and noted. Nevertheless, the beginning of their short civic year tended to anticipate the natural year; and thus the Egyptian year was always in advance of the solar. But if it was observed and noted down by the Egyptians, that in the year of their reckoning, corresponding to the Julian year 1322 B.C., the beginning of the year had again fallen on the right day, that is, on the rising of Sirius, so that the first day of Thoth in the movable year coincided with the first day of Thoth in the solar year, which was the 20th of July, it follows that the fixing of the beginning of the year on July 20, and of the length of the year at 365 days, had taken place 1,460 years (p.